Painted Talismans

(Talisman Painting, Ink and Water Color on Board, 1999)

I paint talismans to commission. The talismans focus energy, integrate disparate principles or influences, provide medititation mandalas for specific purposes or celebrate special occasions like weddings, birthdays, anniversaries or significant cosmic events. They are specially tailored to the individual(s) who will have and use them, attuned energetically and astrologically. All colors are coded magically and the images are derived from traditional medieval, Egyptian, Kabbalistic, Astrological, Alchemical, Rosicrucian and other mystical languages.

email Tad Mann for information about talisman commissions

Astrological Calendars

Beginning in 1972 I created astrological calendars for publication. The first KALA calendar above was done with Peter Barton in the US. When I moved to England in 1973 I became a Director of Phenomenon Publications and we made calendar books (above right and below) until 1981. After that time I did calendars on my own as single-page mandalas of great richness and complexity. In 1995 I made the Galaxen Astrologisk Kalendar in Copenhagen. The calendars are based on the astrological year of twelve signs and include many calendar systems (such as Islamic, Hebrew, Christian Saints Days, Chinese, Mayan, Aztec and others), often shown as concentric circles. This points up the true disconnection of our Western Civil Calendar from more natural planetary and natural cycles.

Double click to navigate around the Zodiac above right.

A T Mann – Architectural Design & Consultation
The Jackson House, near Thy, Jutland, Denmark, 1994

The Jackson House was an architectural design commission I accepted while living in Copenhagen, Denmark. The clients had bought a large property that had previously been the "World University," a live-in school of adult education, for twenty years. The existing building was a typical L-shaped Danish farm building. What is most unique and spectacular about the site is that it is adjacent to a site of historical importance due to the existence of eight 5000-year-old megalithic burial mounds. (These mounds and their geometry can be seen on this partial plan of the site.) The solution was unique and satisfied the clients.

See my feng shui/architectural solution

The Mandala Astrological Tarot

By A T Mann

(Set of Tarot Card Paintings, Ink and Water Color on Board, 1986)

The Mandala Astrological Tarot cards were originally painted in 1972 when I returned from living in Morocco and India, and repainted at a large scale in 1986 for publication. They are circular mandala images within square cards. The cards may be rotated and placed on either of the four astrological angles: upright (MC), upside down (IC), leaning left (ASC) and leaning right (DSC). Each card is a stage-set or initiation chamber for a level in the process of achieving wholeness. All colors are coded magically and the images are derived from traditional medieval, Egyptian, Rosicrucian and other mystical languages.

email Tad Mann for information about tarot readings or reproductions of the cards

ATMann Book Cover Designs

I have designed many book covers (in addition to most of my own books) for sympathetic authors and publishers. "Chakras, Rays and Radionics" and "Ray Paths and Chakra Gateways" were both designed for my friend David Tansley, the premier radionic practitioner and theorist of our era. The covers reflect graphic healing concepts because radionics is healing with patterns.

email A T Mann for graphic design commissions

ATMann Logo Designs

I have designed many logos for companies created by individuals or organizations who also have a spiritual agenda and want their corporate image to reflect both business and spirit. These logos contain or are based on archetypal symbols and geometries and therefore evoke powerful identification. Genese manufactures a vitamin/mineral formulation for osteoporosis and is primarily for women, therefore its symbol is a double lotus. Galaxen magazine used the Milky Way Galaxy. Wellspring Vitamins combined the double helix of the dna molecule within the caduceus, showing the organic quality of the minerals. Elmebech alternative accountants in Copenhagen shows the elm tree of its location street and the ideas of solidity and firm roots and also the Egyptian hieroglyph for "flow." The Art of the Possible logo utilizes an infinity symbol in its design. ScanLase dental lasers utilize an ancient Vedic sun symbol.

email Tad Mann for graphic design commissions.

By A. T. Mann

A lecture presented at the "Making Sacred Places" Conference 1997

University of Cincinnati School of Architecture, Art & Planning, Hebrew Union College and Old Saint George

In an unexpected way my interest in astrology reactivated my earlier quest to understand architecture and the mysteries of number, proportion and form, and provided the underlying mystical tradition for which I had searched in vain since childhood. My astrological practice demonstrated beyond doubt that the three dimensions of traditional architecture (height, length and breadth) were often subsumed with the fourth and most powerful dimension, time. Indeed, sacred architecture is an integration of space and time, earth and heaven, and at its most profound accesses the timeless. And yet time was not discussed in my education.

The unique and mystical mathematical proportions of the human lifetime and psyche synchronise with planetary rhythms and geometry, as Plato, Pythagoras and the Hermeticists insisted. Geometry and number are the primary source of magical thought, linking humanity to cosmos. Magic circles, mandalas, meditation diagrams, healing spaces, as well as sacred megaliths and stone circles, all have architectural origins and foundations but sacred causes. Some Indian and Buddhist yantras (meditation diagrams) are literally temple complexes or cosmoses as seen from above.

The architecture I consider sacred is that which has a common root in the life of the soul and spiritual vision, rather than that which contains religious forms. Symbolism and meaning in architecture are more important than aesthetics.

To read the text of this lecture, complete with illustrations, click here:

Designing Desires Workshop

A group workshop at Doors of Perception 3, Amsterdam, November 1995

By Group Leader A T Mann

The Doors of Perception 3 Conference in Amsterdam in November 1995 was co-sponsored by The Netherlands Design Institute, Domus Academy of Milan, the Royal College of Art, London and the Royal Melbourne Institute of Technology. The workshops and conference explored ways in which information technology and design can contribute to sustainability, specifically the mental and material changes that must be made in order to achieve a sustainable future. The purpose of the workshops was to create various info-eco scenarios that could be used by design schools and designers in the future. I was invited to run one of the twelve Professional Design Workshops.

Our workshop was called "Designing Desires: Fluid Functionality and Less as More." The brief was that: "We blame consumerism for its wastefulness, but what can we learn from the numerous and subtle ways in which it stimulates our desires? What new ideals can inform the way we cultivate desire with our product design and guide us to a more sustainable future? How can we do more than just marvel at the psychological power of status symbols, fashion and fetishism to generate demand?"

See ATMann's description of the workshop

All images and text in this website are
Copyright © A T Mann 2001 World Rights in All Media